Y ou, my good friend, are fucked. Thats how monologuist Mike Daisey started his latest production, The Trump Card, at Washington DCs Woolly Mommoth Theatre on Thursday night. It may not be how he begins Friday nights efficiency, or Saturdays. Much like Donald Trump himself, Daisey prefers to riff on the news of the day and his crowd.
Daisey who is a periodic factor to the Guardian thinks his crowd are a self-selecting lot. They are, he stated, the sort of individuals that will laugh nicely at jokes about their tendency to pay attention to geeks on NPR and point out Mother Jones posts in table talk. You understand, sort of like the mirror image of the Trump fans who will stand in line for hours to hear him skewer the disliked icons of the left, even if they understand that he may not be informing the entire reality and absolutely nothing however the fact.
The fact Daisey looks for to light up with his newest monologue which, similar to The Agony and the Ecstasy of Steve Jobs, he prepares to transcribe and launch open source to anybody that wants to stage it themselves isn’t actually about the bigotry in the house or in the Republican celebration that he states generated Trump, or about Trumps tendency to inform individuals exactly what they wish to hear and think to be real. It isn’t really even actually about the passiveness of America that might possibly move the New York realty star to success in November, or how he hacked journalism by informing lies so strong that enjoying reporters select them apart can never ever remove their rhetorical power.
Daiseys monologue has to do with how we develop our specific truths and how an artistic lie illuminates exactly what our team believe to be the reality more than any real accounting of unbiased truth.
Daisey, whose excerpt from his The Agony and the Ecstasy of Steve Jobs monologue was relayed on This American Life as journalism then pulled back when it ended up being, in no little part, art , understands more than a little about when fiction is passed off by truth. His brand-new work referrals his past more than a couple of times.
Perhaps its since of the intimacy Daisey can develop with an audience or since he acknowledges that carrying out a fact isn’t really the like informing, however Daiseys case for forgiveness is convincing. Hes as forgivable to his liberal audience as Trumps are to his fans and you see a bit of Trump in Daisey and, eventually, a bit of Trump in yourself.